Here's my thing. Hold on. There I go. Hey. I want to start today -- talk about the structure of a polypeptide.
Danas želim da počnem - evo ga. Sačekajte. Evo ga. Danas želim da počnem... da govorim o strukturi polipeptida. (Smeh)
(Laughter)
I get a lot of people asking me, in terms of "Lost," you know, "What the hell's that island?" You know, it's usually followed by, "No, seriously, what the hell is that island?"
Mnogo ljudi me pita, u vezi sa serijom ''Lost'': ''Zaboga, šta je to ostrvo?'' To je obično praćeno sa: ''Ne, ozbiljno, šta je zaboga to ostrvo?''
Why so many mysteries? What is it about mystery that I seem to be drawn to? And I was thinking about this, what to talk about at TED. When I talked to the kind rep from TED, and I said, "Listen, you know, what should I talk about?" He said, "Don't worry about it. Just be profound."
(Smeh) Zašto toliko misterija? Šta je to u vezi sa misterijom što me privlači? I razmišljao sam o čemu da pričam na TED-u. Kada sam razgovarao sa ljubaznim predstavnikom TED-a i pitao: ''Slušajte, o čemu bi trebalo da pričam?'' On je rekao: ''Nemojte brinuti o tome. Samo neka bude duboko.''
(Laughter)
(Smeh) I to me je neizmerno utešilo.
And I took enormous comfort in that. So thank you, if you're here.
Prema tome, hvala Vam, ako ste ovde.
I was trying to think, what do I talk about? Good question. Why do I do so much stuff that involves mystery? And I started trying to figure it out. And I started thinking about why do I do any of what I do, and I started thinking about my grandfather. I loved my grandfather. Harry Kelvin was his name, my mother's father. He died in 1986. He was an amazing guy. And one of the reasons he was amazing: After World War II, he began an electronics company. He started selling surplus parts, kits, to schools and stuff. So he had this incredible curiosity. As a kid, I saw him come over to me with radios and telephones and all sorts of things. And he'd open them up, he'd unscrew them and reveal the inner workings -- which many of us, I'm sure, take for granted. But it's an amazing gift to give a kid. To open up this thing and show how it works and why it works and what it is. He was the ultimate deconstructor, in many ways. And my grandfather was a kind of guy who would not only take things apart, but he got me interested in all sorts of different odd crafts, like, you know, printing, like the letter press. I'm obsessed with printing. I'm obsessed with silk-screening and bookbinding and box making. When I was a kid, I was always, like, taking apart boxes and stuff.
Razmišljao sam o čemu ću pričati. To je dobro pitanje. Zašto radim toliko stvari koje uključuju misteriju? I počeo sam pokušavati da to otkrijem. Počeo sam da razmišljam zašto radim išta od onoga što radim i počeo sam da razmišljam o svom dedi. Voleo sam svog dedu. Njegovo ime je bilo Heri Kelvin, otac moje majke. Umro je 1986. Bio je sjajan tip. I jedan od razloga što je bio sjajan, je to što je posle II svetskog rata osnovao elektronsku kompaniju. Počeo je da prodaje rezervne delove, opremu školama i sl. Imao je neku neverovatnu radoznalost. Kad sam bio dete dolazio bi kod mene sa radijima i telefonima i raznoraznim stvarima. I otvorio bi ih, odšrafio i otkrivao kako funkcionišu iznutra... što mnogi od nas, siguran sam, uzimaju zdravo za gotovo. Ali to je sjajan poklon koji možete dati detetu. Da otvorite neku stvar i pokažete kako radi i zašto radi i šta je. On je bio vrhunski dekonstruktivista, na mnogo načina. I moj deda je bio ne samo neko ko bi rastavljao stvari, već i neko ko me je zainteresovao za razne vrste različitih, čudnih veština, kao što je, znate, ofset štampa. Ja sam opsednut štampom. Opsednut sam sitoštampom i knjigovezništvom i pravljenjem kutija. Kad sam bio mali, uvek sam rastavljao kutije i druge stvari.
And last night in the hotel, I took apart the Kleenex box. I was just looking at it. And I'm telling you --
I sinoć u hotelu, rastavio sam kutiju za maramice. Samo sam je gledao. I kažem vam... (Smeh) To je prelepa stvar.
(Laughter)
It's a beautiful thing. I swear to God. I mean, when you look at the box and you sort of see how it works. Rives is here, and I met him years ago at a book fair; he does pop-up books. And I'm obsessed with engineering of paper. The scoring of it, the printing of it, where the thing gets glued, the registration marks for the ink. I just love boxes. My grandfather was the guy who kind of got me into all sorts of these things. He would also supply me with tools. He was this amazing encourager -- this patron, sort of, to make stuff. And he got me a Super 8 camera when I was 10 years old. And in 1976, that was sort of an anomaly, to be a 10-year-old kid that had access to a camera. And you know, he was so generous; I couldn't believe it. He wasn't doing it entirely without some manipulation. I mean, I would call him, and I'd be like, "Listen, Grandpa, I really need this camera. You don't understand. This is, like, I want to make movies. I'll get invited to TED one day --"
Kunem se. Mislim, kad pogledate kutiju i na neki način vidite kako funkcioniše. Rivs je ovde, upoznao sam ga pre nekoliko godina na sajmu knjiga. On pravi 'pop-up' knjige. I opsednut sam konstrukcijama od papira. Ali bušenjem, štampanjem, gde se lepi, znate, oznakama za mastilo. Jednostavno volim kutije. Moj deda je bio tip čoveka koji me je, znate, na neki način, zainteresovao za te stvari. On me je takođe i snabdevao alatkama. Bio je neverovatan podstrekivač - neka vrsta mecene. On mi je dao "Super 8" kameru kada sam imao 10 godina. A 1976. to nije bilo uobičajeno, da budeš 10-godišnjak koji ima pristup kameri. I znate, bio je tako darežljiv; nisam mogao da verujem. Nije to radio u potpunosti bez ikakve manipulacije. Mislim, zvao bih ga i rekao bih: ''Slušaj, deda, stvarno mi treba ova kamera. Ne razumeš. Znaš, hoću da pravim filmove. Zvaće me na TED jednog dana. Ovo je...'' (Smeh)
(Laughter)
And, you know, my grandmother was the greatest. Because she'd be like, you know -- she'd get on the phone. She'd be like, "Harry, it's better than the drugs. She was fantastic. So I found myself getting this stuff, thanks to her assist, and suddenly, you know, I had a synthesizer when I was 14 years old -- this kind of stuff. And it let me make things, which, to me, was sort of the dream. He sort of humored my obsession to other things too, like magic. The thing is, we'd go to this magic store in New York City called Lou Tannen's Magic. It was this great magic store. It was a crappy little building in Midtown, but you'd be in the elevator, the elevator would open -- there'd be this little, small magic store. You'd be in the magic store. And it was a magical place. So I got all these magic tricks. Here. I'll show you. This is the kind of thing. So it would be like, you know. Which is good, but now I can't move. Now, I have to do the rest of the thing like this. I'm like, "Oh, wow. Look at my computer over there!"
I znate, moja baka je bila najbolja. Zato što bi ona uzela slušalicu. Rekla bi: ''Heri, bolje to nego droga. Trebalo bi da radi...'' Bila je fantastična. (Smeh) Tako da sam dobijao sve te stvari uz njenu pomoć i odjednom, razumete, imao sam sintisajzer kada mi je bilo 14 godina... takve stvari. I to mi je omogućavalo da stvaram, što je na neki način bio moj san. On je na neki način udovoljavao i mojoj opsesiji drugim stvarima, kao što je magija. Otišli bismo u prodavnicu za mađioničare u Njujorku koja se zvala Lu Tanenova Magija. To je bila sjajna mađioničarska prodavnica. Bila je to jadna mala zgrada u Midtaunu, ali bili biste u liftu i on bi se otvorio - i tu bi bila mala prodavnica magije. Bili biste u prodavnici magije. I to je jednostavno bilo magično mesto. Tako da sam dobio razne magične trikove. Evo, pokazaću vam. Ovako nešto. Tako da bi bilo... razumete? Što je sjajno, ali sada ne smem da se pomeram. Sad moram da stojim ovako, do kraja, ovako. Treba da budem u fazonu: ''O, hej. Vidi moj računar!'' (Smeh) BIlo kako bilo, jedna od stvari koje sam kupio u prodavnici magije je ovo:
(Laughter)
So one of the things that I bought at the magic store was this: Tannen's Mystery Magic Box. The premise behind the Mystery Magic Box was the following: 15 dollars buys you 50 dollars worth of magic. Which is a savings.
Tenenova misteriozna magična kutija. Suština misteriozne magične kutije je sledeća: za 15 dolara dobijete magiju u vrednosti od 50 dolara. Što je ušteda. (Smeh)
(Laughter)
E sad, ja sam kupio ovo pre više desetina godina, ne šalim se.
Now, I bought this decades ago and I'm not kidding. If you look at this, you'll see it's never been opened. But I've had this forever. Now, I was looking at this, it was in my office, as it always is, on the shelf, and I was thinking, why have I not opened this? And why have I kept it? Because I'm not a pack rat. I don't keep everything, but for some reason I haven't opened this box. And I felt like there was a key to this, somehow, in talking about something at TED that I haven't discussed before, and bored people elsewhere. So I thought, maybe there's something with this. And there was this giant question mark. I love the design, for what it's worth, of this thing. And I started thinking, why haven't I opened it?
Ako pogledate ovo, videćete da nikad nije bila otvorena. A imam je oduvek. I gledao sam je, bila je u mojoj kancelariji, kao i uvek na polici, i razmišljao, zašto je nikada nisam otvorio? I zašto sam je zadržao? Jer ja nisam jedan od onih koji sve čuvaju, ali iz nekog razloga, ovu kutiju nisam otvorio. I osećao sam da je ključ, na neki način, u tome da govorim na TED-u o nečemu o čemu nisam već govorio i dosađivao ljudima na drugim mestima. Počeo sam da razmišljam da možda ima nešto u tome. A tu je i ovaj ogromni znak pitanja. Ako išta znači, mnogo mi se dopada dizajn ove stvarčice. I počeo sam da razmišljam, zašto je nisam otvorio? Shvatio sam da je nisam otvorio jer predstavlja nešto važno
And I realized that I haven't opened it because it represents something important -- to me. It represents my grandfather. Am I allowed to cry at TED? Because -- no, I'm not going to cry.
za mene. Predstavlja mog dedu. Smem li da plačem na TED-u? Jer... ne, neću plakati. Ali - (Smeh)
(Laughter)
But --
(Laughter)
The thing is that it represents infinite possibility. It represents hope. It represents potential. And what I love about this box, and what I realize I sort of do in whatever it is that I do, is I find myself drawn to infinite possibility, that sense of potential. And I realize that mystery is the catalyst for imagination. Now, it's not the most ground-breaking idea, but when I started to think that maybe there are times when mystery is more important than knowledge. I started getting interested in this.
- stvar je u tome da ona predstavlja bezgranične mogućnosti. Predstavlja nadu. Predstavlja potencijal. I ono što volim kod ove kutije i ono što shvatam da radim u svemu što radim, je da sam uvek privučen neograničenim mogućnostima, tom osećaju potencijala. I shvatam da je misterija katalizator za maštu. Sad, nije to najrevolucionarnija ideja, ali kad sam počeo da razmišljam o tome kako možda postoje situacije kada je misterija važnija od znanja, počeo sam da se interesujem za ovo. I onda sam počeo da razmišljam o seriji ''Lost'' i o stvarima koje radimo
And so I started thinking about "Lost" and the stuff that we do, and I realized, oh my God, mystery boxes are everywhere in what I do! In the creation of "Lost," Damon Lindelof and I, who created the show with me, we were basically tasked with creating this series that we had very little time to do. We had 11 and a half weeks to write it, cast it, crew it, shoot it, cut it, post it, turn in a two-hour pilot. So it was not a lot of time. And that sense of possibility -- what could this thing be? There was no time to develop it. I'm sure you're all familiar with people who tell you what you can't do and what you should change. There was no time for that, which is kind of amazing. And so we did this show, and for those of you who haven't seen it, or don't know it, I can show you one little clip from the pilot, just to show you some stuff that we did.
i shvatio sam: "O Bože, misteriozne kutije su i svemu što radim! Prilikom stvaranja serije ''Lost'', Dejmon Lindelof, koji je stvorio seriju sa mnom, i ja smo dobili zadatak da napravimo seriju za veoma kratko vreme. Imali smo 11 ipo nedelja da je napišemo, podelimo uloge, okupimo ekipu, snimimo je, montiramo, završimo i pretvorimo u dvočasnovni pilot. Tako da nije bilo puno vremena. I taj osećaj mogućnosti - šta će ovo biti? Nije bilo vremena da se razvije. Siguran sam da svi poznajete ljude koji vam govore šta ne možete da uradite i šta treba da izmenite. Ali nije bilo vremena za to, što je u neku ruku sjajno. Tako da smo napravili ovu seriju i za one od vas koji je nisu gledali ili ne znaju ništa o njoj, mogu vam pokazati jedan mali insert iz pilot epizode, samo da bih vam pokazao neke stvari koje smo uradili.
(Engine roaring)
(Video) Claire: Help!
Kler: Upomoć! Molim vas pomozite mi! Upomoć! Upomoć!
Please help me! Help me! Please, help me!
Jack: Get him out of here! Get him away from the engine! Get him out of here!
Džek: Sklonite ga odavde! Sklonite ga od motora! Sklonite ga odavde!
(Engine roaring)
C: Help me, please! I'm having contractions!
K: Imam kontrakcije!
J: How many months pregnant are you?
J: U kom ste mesecu trudnoće?
C: I'm only eight months.
K: Tek u osmom.
J: And how far apart are they coming?
Dž: Koliko su česte?
C: I don't know. I think it just happened.
K: Ne znam. Mislim da su tek počele.
Man: Hey! Hey! Hey, get away from --
Čovek: Hej! Hej! Hej, sklonite se od -
JJ Abrams: 10 years ago, if we wanted to do that, we'd have to kill a stuntman.
DžDžA: Da smo pre 10 godina hteli to da uradimo morali bismo da ubijemo kaskadera. Morali bismo - (Smeh)
(Laughter)
bilo bi teže. Trebalo bi... drugo ponavljanje scene bi bilo zeznuto.
It would be harder. Take two would be a bitch.
(Laughter)
Tako da je sjajna stvar bila to što smo mogli da uradimo ovo.
So the amazing thing was, we were able to do this thing. And part of that was the amazing availability of technology, knowing we could do anything. I mean, we could never have done that. We might have been able to write it; we wouldn't have been able to depict it like we did. So part of the amazing thing for me is in the creative process, technology is mind-blowingly inspiring to me. I realize that that blank page is a magic box, you know? It needs to be filled with something fantastic.
A deo toga je sjajna tehnologija koja nam je bila na raspolaganju i svest da možemo da uradimo bilo šta. Mislim, mogli smo da to nikada ne uradimo. Možda smo mogli da napišemo, ali ne bismo mogli da prikažemo kao što jesmo. Tako da je deo te neverovatne stvari za mene u kreativnom procesu, tehnologija je neviđeno inspirativna za mene. Shvatam da je ta prazna stranica magična kutija. Razumete? Treba da bude popunjena nečim fantastičnim.
I used to have the "Ordinary People" script that I'd flip through. The romance was amazing to me; it would inspire me. I wanted to try and fill pages with the same kind of spirit and thought and emotion that that script did. So, you know, I love Apple computers. I'm obsessed. So the Apple computer -- the PowerBook -- this computer, it challenges me. It basically says, what are you going to write worthy of me? I feel this -- I'm compelled.
Nekada sam imao scenario ''Obični ljudi'' koji bih prelistavao. Romantika scenarija mi je bila neverovatna, inspirisala me je. Hteo sam da pokušam da popunim stranice istom vrstom duha i misli i emocije koje je taj scenario imao. Tako da - znate, volim Apple računare. Opsednut sam. Apple računar - kao ovaj - "Power Book" - ovaj računar mene izaziva. On u suštini pita: "Šta ćeš napisati, a što je vredno mene?" (Smeh) Ja to osećam - primoran sam.
(Laughter)
And I often am like, you know, dude, today I'm out. I got nothing. You know? So there's that.
I često sam u fazonu: "Znaš brate, danas nemam ništa. "Razumete? (Smeh) Tako da ima i toga. U smislu sadržaja, pogledate priče, pomislite
In terms of the content of it, you look at stories, you think, what are stories but mystery boxes? There's a fundamental question -- in TV, the first act is called the teaser. It's literally the teaser. It's the big question. So you're drawn into it. Then there's another question. And it goes on. Look at "Star Wars." The droids meet the mysterious woman. Who's that? We don't know. Mystery box! Then you meet Luke Skywalker. He gets the droid, you see the holographic image. You learn it's a message. She wants to find Obi Wan Kenobi. He's her only hope. But who's Obi Wan Kenobi? Mystery box! So then he meets Ben Kenobi. Ben Kenobi is Obi Wan Kenobi. Holy shit! So it keeps us --
šta su priče, ako ne misteriozne kutije? Postoji osnovno pitanje - u televizijskoj emisiji, prvi deo se zove najava. I to je bukvalno najava. To je veliko pitanje. Tako da vas privlači. Onda naravno, tu je i drugo pitanje. I tako dalje i tako dalje. Pogledajte, na primer ''Ratove zvezda''. Imate droide, oni upoznaju misterioznu ženu. Ko je to? Ne znamo. Misteriozna kutija! Razumete? Onda upoznate Luka Skajvokera. On dobije droida, vidi hologramsku sliku. Shvatite: "O, to je poruka". Ona hoće da nađe Obija Van Kenobija. On joj je jedina nada. Ali ko je zaboga Obi Van Kenobi? Misteriozna kutija! Onda idu dalje i on upozna Ben Kenobija. Ben Kenobi je Obi Van Kenobi. Koje sranje! Znate, to vas drži -
(Laughter)
(Smeh) - zar niste to gledali?
Have you guys not seen that?
(Smeh) Neviđeno je! Uglavnom -
(Laughter)
It's huge! Anyway -- So there's this thing with mystery boxes that I started feeling compelled. Then there's the thing of mystery in terms of imagination -- the withholding of information. You know, doing that intentionally is much more engaging. Whether it's like the shark in "Jaws" -- if Spielberg's mechanical shark, Bruce, had worked, it would not be remotely as scary; you would have seen it too much. In "Alien", they never really showed the alien: terrifying! Even in a movie like a romantic comedy, "The Graduate," they're having that date, and they're in the car, and it's loud, and so they put the top up. You don't hear anything they're saying! You can't hear a word! But it's the most romantic date ever. And you love it because you don't hear it.
Ima nečega u tim misterioznim kutijama što je počelo da me privlači. Onda je tu misterija u smislu mašte - uskraćivanje informacija. Raditi to namerno ima mnogo veći efekat. Bilo da je to kao ajkula u ''Ajkuli'' - da je Spilbergova mehanička ajkula, Brus, radila, ne bi bilo ni približno toliko strašno; videli biste previše. U ''Osmom putniku'' nikad nisu zaista prikazali vanzemaljca: zastrašujuće! Čak i u filmu koji je romantična komedija, ''Diplomac'', oni su na sastanku. Sećate se? U kolima su i buka je, tako da podignu krov. Oni su unutra - ne čujete ništa što govore! Ne čujete ni reč! Ali to je najromantičniji sastanak. I dopada vam se zato što ga ne čujete. Po mom mišljenju - to je to.
So to me, there's that. And then, finally, there's this idea -- stretching the paradigm a little bit -- but the idea of the mystery box. Meaning, what you think you're getting, then what you're really getting. And it's true in so many movies and stories. Look at "E.T.," for example -- "E.T." is this unbelievable movie about what? It's about an alien who meets a kid, right? Well, it's not. "E.T." is about divorce. "E.T." is about a heartbroken, divorce-crippled family, and ultimately, this kid who can't find his way. "Die Hard," right? Crazy, great, fun, action-adventure movie in a building. It's about a guy who's on the verge of divorce. He's showing up to L.A., tail between his legs. There are great scenes -- maybe not the most amazing dramatic scenes in the history of time, but pretty great scenes. There's a half an hour of investment in character before you get to the stuff that you're expecting.
I onda, konačno, tu je ideja - ako malo proširimo paradigmu - ideja misteriozne kutije. Znači, prvo, šta mislite da ćete dobiti, a onda šta zapravo dobijete. Toga ima u mnogo filmova i priča. Kada pogledate "E.T.", na primer - "E.T." je, znate, neverovatan film o čemu? O vanzemaljcu koji upozna dečaka. Je l' tako? E, pa nije. "E.T." je o razvodu braka. "E.T." je film o skrhanoj porodici, potresenoj razvodom i konačno, o dečaku koji ne može da pronađe svoj put. "Umri muški"? Ludačka, sjana, zabavna akciona avantura koja se odvija u zgradi. To je priča o tipu koji je pred razvodom. Pojavljuje se u Los Anđelesu, sa repom među nogama. Ima sjajnih scena - možda ne najsjajnijih dramskih scena, ali prilično sjajnih scena. Imate polučasovno građenje lika pre nego što dođete do dela koji očekujete.
When you look at a movie like "Jaws," the scene that you expect -- we have the screen? These are the kind of scenes that you remember and expect from "Jaws." And she's being eaten; there's a shark.
Kada pogledate film kao što je "Ajkula", scena koju očekujete - imamo li insert? Ovo su scene kojih se sećate i koje očekujete od "Ajkule". I ona je pojedena; evo ajkule.
(Woman screaming)
The thing about "Jaws" is, it's really about a guy who is sort of dealing with his place in the world -- with his masculinity, with his family, how he's going to, you know, make it work in this new town. This is one of my favorite scenes ever, and this is a scene that you wouldn't necessarily think of when you think of "Jaws." But it's an amazing scene.
"Ajkula" je u stvari o tipu koji na neki način traži svoje mesto pod suncem - koji se bavi svojom muževnošću, svojom porodicom, kako će da se snađe u novom gradu. Ovo je jedna od mojih omiljenih scena svih vremena, a to nije scena koja bi vam prvo pala na pamet kada pomislite na "Ajkulu". Ali je sjajna scena.
(Video) Father: C'mere. Give us a kiss.
Otac: Dođi ovamo. Poljubi me.
Son: Why?
Sin: Zašto?
Father: 'Cause I need it.
Otac: Zato što mi je potrebno.
JJA: Come on. "Why? 'Cause I need it"? Best scene ever, right?
DžDžA: Ma daj. "Zašto?" "Zato što mi je potrebno?" Najbolja scena, zar ne?
(Laughter)
Hajde! Pomislite na "Ajkulu"...
Come on! So you think of "Jaws" -- so that's the kind of stuff that, like, you know -- the investment of character, which is the stuff that really is inside the box, you know? It's why when people do sequels, or rip off movies, you know, of a genre, they're ripping off the wrong thing. You're not supposed to rip off the shark or the monster. You know, if you rip something off -- rip off the character. Rip off the stuff that matters. I mean, look inside yourself and figure out what is inside you. Because ultimately, the mystery box is all of us.
to su te stvari, znate, građenje lika, ono što je zaista u kutiji. Razumete? Zbog toga ljudi kad rade nastavke ili pokradu druge filmove istog žanra, kradu pogrešne stvari. Ne treba da ukradete ajkulu ili čudovište. Treba da ukradete - ako već kradete - lik. Ukradite ono što je bitno. Hoću da kažem, zagledajte se u sebe i otkrijte šta je unutra. Jer na kraju krajeva, svi smo mi misteriozne kutije. To je to što se toga tiče.
So there's that. Then the distribution. What's a bigger mystery box than a movie theater? You know? You go to the theater, you're just so excited to see anything. The moment the lights go down is often the best part. And you're full of that amazing -- that feeling of excited anticipation. And often, the movie's there and it's going, and then something happens and you go, "Oh --", and then, "Mmm ..." When it's a great movie, you're along for the ride because you're willing to give yourself to it.
Onda je tu distribucija. Šta je veća misteriozna kutija od bioskopa? Razumete? Odete u bioskop i tako ste uzbuđeni da vidite bilo šta. Trenutak kada se svetla gase je često najbolji trenutak, znate? I puni ste tog neverovatnog - tog osećaja uzbudljivog iščekivanja. I često film teče i onda se nešto dogodi i vi reagujete: ''O -'' i onda nešto drugo, a vi kažete: ''Mmm''. E, kad je reč o sjajnom filmu, vi se prepuštate vožnji jer ste voljni da se prepustite.
So to me, whether it's a TV, an iPod, computer, cell phone -- It's funny, I'm an -- as I said, Apple fanatic -- and one day, about a year or so ago, I was signing on online in the morning to watch Steve Jobs' keynote, because I always do. And he came on, he was presenting the video iPod, and what was on the enormous iPod behind him? "Lost"! I had no idea! And I realized, holy shit, it'd come full circle. The inspiration I get from the technology is now using the stuff that I do to sell technology. It's nuts!
Tako da je meni svejedno da li je to televizija, iPod, računar, mobilni telefon. Smešno je, ali ja sam, kao što sam pomenuo, Apple fanatik i pre oko godinu dana prijavljivao sam se preko interneta da gledam prezentaciju Stiva Džobsa jer to uvek radim. On je nastupio, prezentovao je video iPod, i šta je bilo na ogromnom iPodu iza njega? ''Lost''! Nisam imao pojma! I shvatio sam, čoveče, da je ciklus zaokružen. Inspiracija koju dobijem iz tehnologije sada koristi stvari koje ja stvaram, inspirisan njome, da prodaje tehnologiju. Mislim, to je ludilo! (Smeh)
(Laughter)
Hteo sam da vam pokažem još par drugih stvari, pa ću ih na brzinu proći.
I was going to show you a couple of other things I'm going to skip. I'll show you one other thing that has nothing to do with anything. This is something online; six years ago, they did this. This is an online thing done by guys who had some visual effects experience. But the point was, that they were doing things that were using these mystery boxes that they had -- everyone has now. What I've realized is what my grandfather did for me when I was a kid, everyone has access to now. You don't need to have my grandfather, though you wish you had. But I have to tell you -- this is a guy doing stuff on a Quadra 950 computer -- the resolution's a little bit low -- using Infinity software they stopped making 15 years ago. He's doing stuff that looks as amazing as stuff I've seen released from Hollywood.
Hoću da vam pokažem jednu drugu stvar koja ni sa čim nema veze. Ovo je nešto sa interneta; ne znam da li ste ga videli ranije. Ovo je napravljeno pre šest godina, to je snimak koji su napravili ljudi sa određenim iskustvom u specijalnim efektima. Ali poenta je da su pravili stvari koristeći te misteriozne kutije koje su imali - koje sada svako ima. Shvatio sam da ono što je moj deda meni omogućio kada sam bio mali, sada ima svako. Ne morate imati mog dedu, mada biste želeli da ga imate. Moram da vam kažem - ovo je jedan tip uradio na "Quadra 950" rečunaru - rezolucija je malo niska - koristeći "Infinity" softver koji se ne proizvodi već 15 godina. On pravi stvari koje izgledaju sjajno, kao stvari koje su proizvedene u Holivudu. Najveća misterija je, po mom mišljenju, pitanje šta sledi.
The most incredible sort of mystery, I think, is now the question of what comes next. Because it is now democratized. So now, the creation of media -- it's everywhere. The stuff that I was lucky and begging for to get when I was a kid is now ubiquitous. And so, there's an amazing sense of opportunity out there. And when I think of the filmmakers who exist out there now who would have been silenced, you know -- who have been silenced in the past -- it's a very exciting thing.
Jer je sada sve demokratizovano. Sada je medijsko stvaralaštvo svuda. One stvari koje sam ja imao sreće da dobijem kao mali su sada uobičajene. I tako, postoje sjajne prilike. I kada pomislim na stvaraoce filmova koji postoje tamo negde koji bi bili ućutkani, razumete - koji su ranije bili ućutkani - to je veoma uzbudljivo.
I used to say in classes and lectures and stuff, to someone who wants to write, "Go! Write! Do your thing." It's free, you don't need permission. But now I can say, "Go make your movie!" There's nothing stopping you from going out there and getting the technology. You can lease, rent, buy stuff off the shelf that is either as good, or just as good, as the stuff that's being used by the, you know, "legit people." No community is best served when only the elite have control. And I feel like this is an amazing opportunity to see what else is out there.
Imao sam običaj da kažem na časovima i predavanjima i slično, nekome ko želi da piše: "Idite! Pišite! Radite ono što želite." Slobodno je, razumete, ne treba vam dozvola da idete da pišete. Ali sada mogu da kažem, "Idite, napravite svoj film!" Ništa vas ne sprečava da odete i nabavite potrebnu tehnologiju. Možete da iznajmite, kupite stvari koje su ili isto toliko dobre ili skoro toliko dobre, kao stvari koje koriste, pod znacima navoda ''pravi profesionalci''. Nijedno društvo ne dostiže svoj maksimum kada samo elita ima kontrolu. I osećam da je ovo sjajna prilika da se vidi šta još postoji. Kada sam radio ''Nemoguću misiju III'', imali smo sjajne vizuelne efekte.
When I did "Mission: Impossible III," we had amazing visual effects. ILM did the effects; it was incredible. And sort of my dream to be involved. And there are a couple of sequences in the movie, like these couple of moments I'll show you. There's that.
ILM su radili efekte; bilo je neverovatno. I za mene je učestvovanje bilo ispunjenje sna. I ima nekoliko sekvenci u filmu, kao ovih nekoliko inserata koje ću vam pokazati. Ima ovo.
(Video) Luther: Ethan, move!
(Explosion)
Obviously, I have an obsession with big crazy explosions. So my favorite visual effect in the movie is the one I'm about to show you. It's a scene in which Tom's character wakes up. He's drowsy. He's crazy. And the guy wakes up, and he shoves this gun in his nose and shoots this little capsule into his brain that he's going to use later to kill him, as bad guys do.
U redu, ja sam očigledno opsednut ludačkim eksplozijama. Ali moj omiljeni vizuelni efekat u filmu je jedan koji ću vam sada pokazati. I to je scena u kojoj se Tomov lik budi. Vrti mu se. Poludeo je - van sebe. I tip se probudi i on mu gurne pištolj u nozdrvu i ispali malu kapsulu u njegov mozak koju će kasnije iskoristiti da ga ubije, kao što to negativci obično rade.
(Video) Brownway: Good morning.
Negativac: Dobro jutro.
JJA: OK, now. When we shot that scene, the actor who had the gun, an English actor, Eddie Marsan -- sweetheart, great guy -- he kept taking the gun and putting it into Tom's nose, and it was hurting Tom's nose. And I learned this very early on in my career: Don't hurt Tom's nose.
DžDžA: U redu. Kad smo snimali ovu scenu, bili smo tamo i glumac koji je držao pištolj, engleski glumac, Edi Marsan - dobrica, divan lik - je uporno uzimao pištolj i gurao ga Tomu u nos, počevši da ga povređuje. Naučio sam veoma rano u svojoj karijeri: nemoj povrediti Tomov nos. (Smeh)
(Laughter)
Ima tri stvari koje nikako ne želite da uradite. Na drugom mestu je: nemoj povrediti Tomov nos.
There are three things you don't want to do. Number two is: Don't hurt Tom's nose. So Eddie has this gun -- and he's this sweet English guy. He's like, "Sorry, I don't want to hurt you." I'm like, "We have to make this look good." And I realized that we had to do something because it wasn't working. And I thought back to what I would have done using the Super 8 camera that my grandfather got me sitting in that room, and I realized that hand didn't have to be Eddie Marsan's. It could be Tom's. And Tom would know just how hard to push the gun. He wouldn't hurt himself.
Tako da je Edi držao taj pištolj - a on je divan tip - on je veoma učtiv Englez. Bio je u fazonu: ''Izvini, ne želim da te povredim.'' Ja sam bio u fazonu - moramo da napravimo da ovo dobro izgleda. I shvatio sam da moramo nešto da preduzmemo jer ovako nije funkcionisalo. I bukvalno sam pomislio šta bih uradio nekada kada sam koristio "Super 8" kameru koju mi je deda dao, sedeći u toj sobi, i shvatio sam da ruka nije morala da bude Edi Marsanova. Mogla je da bude Tomova. I Tom bi znao koliko jako može da gurne pištolj, a da se ne povredi. Tako da smo uzeli njegovu ruku i našminkali je da više liči na Edijevu.
So we took his hand and we painted it to look a little bit more like Eddie's. We put it in Eddie's sleeve, and so the hand that you see -- that's not Eddie's hand, that's Tom's. So Tom is playing two roles.
Stavili smo je u Edijev rukav, tako da ruka koju vidite - pokazaću vam ponovo, nije Edijeva, već Tomova.
(Laughter)
Tako da Tom igra dve uloge. (Smeh)
And he didn't ask for any more money. So here, here. Watch it again. There he is. He's waking up. He's drowsy, been through a lot.
I nije tražio više para. Evo, evo. Pogledajte ponovo. Evo ga. Budi se. Vrti mu se, prošao je sve i svašta.
(Video) Brownway: Good morning.
JJA: Tom's hand. Tom's hand. Tom's hand. Anyway. So ...
Tomova ruka. Tomova ruka. Tomova ruka. (Smeh) Tako.
(Applause)
(Aplauz)
Thanks.
Hvala.
(Applause)
Tako da vam ne treba najbolja tehnologija da biste uradili stvari koje funkcionišu na filmu.
So you don't need the greatest technology to do things that can work in movies. And the mystery box, in honor of my grandfather, stays closed.
I misteriozna kutija, u čast moga dede, ostaje zatvorena.
Thank you.
Hvala vam. (Aplauz)
(Applause)